Wyniki wyszukiwania - Biblioteka Nauki

1

Film jako tekst kultury. 51. Lubuskie Lato Filmowe – reminiscencje

100%

Nogal G.

Przegląd Zachodni

|

2022

|

nr 3 (384)

233-238

EN

The 51st Lubusz Film Summer (26 June - 2 July 2022) – reminiscences

2

Hybryda sztuki. Mediations Biennale, Poznań 11.09–30.10.2010

100%

Tendera P.

Estetyka i Krytyka

|

2011

|

nr 2(21)

207-212

EN

Review of: Mediations Biennale, Poznań 11.09-30.10.2010

3

Nice Carnival: an anthropology of institutions, tourism, and know-how

100%

Chabert A.

Our Europe. Ethnography – Ethnology – Anthropology of Culture

|

2015

|

nr Vol. 4

35-46

EN

: As a festival recreated in its modern form in 1873, the Nice Carnival has contributed to shaping the image of the city and of the French Riviera. While many carnivals and fairs in southeastern France have gradually lost success by becoming second-rate spring festivities, the carnival has remained a highlight in Nice: it is the event for which the town invests the most. In the city, the carnival takes place for a fortnight during the school holidays, and it has kept its role as a winter celebration. To explain these characteristics the author seeks to demonstrate the importance of the public and tourist policies that shape the way this carnival is put together, both as a festive ritual and a show. This emblematic carnival is promoted as a tradition and is seen as an economic stimulation process which is put forward through a marketing approach based on a context in which European cities are defined around central significant events. Designed as a leisure and family entertainment event, the Nice Carnival is also promoted as an international show, giving the city the image of a global carnival city at the same level as Venice and Rio. In Nice, the carnival is a lively show with paid admission, complete with grandstands and full of characters with caricatured features. Satire and irony are well organized – the floats and figurines in the procession are chosen by the city council after an invitation to tender. Every year, the city also selects a theme for the carnival. This institutionalization can also be witnessed in how the floats and the various parade figurines are built by experts, gathered together in family businesses. As a matter of fact, in Nice, the carnival is a matter of both professions and know-how. This article tends to show an original approach to the carnival compared with what is found in the traditional anthropological literature -in Nice, the carnival is not a transgressive ritual, a moment for excess, symbolizing inversion and disorder, but rather an official, institutional festival organized by the local powers.

4

Národopisné výstavy a slavnosti v období protektorátu Čechy a Morava

88%

Soukupová B.

Národopisný věstník

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2021

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tom 38_(80)

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nr 1

36-53

EN

The introductory part of the study deals with the change in the official value guidance in the “Second Republic”, the traditions of which continued in the Protectorate of Bohemia and Moravia. Especially, it emphasizes the return of romantic view of the village and the farmer as apparent sources of national individuality. However, after the Munich Agreement, this outdated view interconnected with Nazi agrarianism. Both the Third Reich and the Protectorate adored ruralism, and revitalized folk customs and national costumes. High attention was paid to ethnographic festivals which, in the period of the Protectorate, were organized by National Partnership, Orel, natives’ associations, the Board of Trustees for the Education of Youth, and mainly the Ethnographic Moravia, an organization aimed to emphasize tribal dissimilarities of “Moravian Slovaks” and to break the unity of Czechness. These struggles were largely supported by the German University in Prague, and they were part of the Germanisation policy in the “Czech” space. The ethnographic exhibitions organized by the Ethnographic Moravia, and the exhibition called Germany in National Costumes (1942), organized by Prague Oberlandrat, featured similar focus. In contrast to them, the events organized by National Partnership, Orel, and natives’ associations aimed to support the Protectorate government and to promote folk culture as a source of Czechness, tolerated by the Nazi, at its cultural level.

5

Mistreated Vasanta: Comical Degradation of Ritual in the Hāsyārṇavaprahasana

88%

Pierdominici Leão D.

|

2017

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tom 19

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nr 2

61-77

EN

The Hāsyārṇava of Jagadīśvara (14th century CE), because of its crude and, sometimes, vulgar tones, is one of the least studied prahasanas. The work depicts the celebration of the Spring Festival, Vasantotsava, with particular features which have few parallels in Sanskrit literature. The sacred meaning of the festivity in itself, which showed connections with the cult of Kāma and in this way centred on the themes of birth and regeneration, is mocked through comical devices. These themes contribute to outline a frame characterized by vulgar and degraded sexual elements. Despite its farcical and grotesque atmosphere, this comical piece undoubtedly underlines deep connections existing between a ritualistic act (understood here as the undertaking of the rite in the prahasana itself) and performative theatre in general.

6

Festiwal a miasto. Przykład Edynburga

88%

Kowalska M.

Studia Etnologiczne i Antropologiczne

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2016

|

tom 16

188-200

EN

The aim of this article is to show Edinburgh as a city identified by its festivals. Two of them-Edinburgh International Festival and Edinburgh Festival Fringe-influenced cultural landscape of Scottish capital the most, and therefore they were analyzed extensively in this study. I intend to show how the concepts of “space” and “place” surface in the reception of the Edinburgh festivals. I’m presenting both-the residents’ and visitors’-perspectives. I’m trying to better understand how the city, art, and people collide, cooperate and-in the end-coexist.

7

ДІЯЛЬНІСТЬ ТВОРЧИХ СТУДЕНТСЬКИХ КОЛЕКТИВІВ У 50–60-Х РР. ХХ СТОЛІТТЯ

88%

Стасевський Ю.

Педагогічні науки: теорія, історія, інноваційні технології

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2017

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nr 6(70)

204-216

EN

The article deals with analysis of government’s regulations which had great impact on development of amateur performances of student,from the perspective of studying historical-pedagogical and art-study sources. The article examines governmental regulations which had a significant impact on the improvement of educational work among students. Careful selection of repertoire for student amateur art, improvement of cultural services for students (opening students club and palaces of students), the allocation of student’s day is the basic for student’s amateur performances. Important role in the formation of creative students group was played by concerts-reviews of amateur performances of collectives of various education institutions, which were organized at the local, district, regional, republican and union levels (VI World Moscow festival of Youth and Students in Moscow (1957), and the first All-Union Festival of the pop theatres in Moscow (1965)). This contributed to the emergence of STEMs at various educational institutions in the country. The main areas of creative teams and student sections that were active in the study period are shown. The analysis of students’ concert choirs and orchestras is conducted and the following feature of creative teams are revealed: entertainming, charitable and educational functions; their contribution to the promotion of art among the general population is outlined. Meaningful historical and pedagogical analysis of a wide layer of archival material made the possibility to identify and characterize the features of creative groups: upbringing, educational, charitable and entertaining. It promotes formation of conscious and critical attitude to the world historical and educational heritage. The materials of the paper suggest a new approach to the analysis of archival materials, illumination and evaluation of controversial issues of student creative teams of Slobozhanshchina in the second half of the 19th – early 20th century.

8

En busca del espectáculo prehispánico nahua en fiestas y representaciones teatrales coloniales

88%

Brylak A.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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nr 7(38)

17-34

EN

The aim of this paper is to present civil and religious festivals, as well as theatrical representations, performed in the sixteenth‑century New Spain, as examples of the convergence of elements introduced by the Spaniards and those already existing in the indigenous culture. Taking as a starting point a schematic presentation of such activities as dances, song performances, jugglers’ shows, mock battles and evangelization theater, our objective is to signal that due to the presence of certain pre‑Hispanic patrons for all these endeavors it is risky to qualify the indigenous contribution as superficial and limit it to the audiovisual elements. The issue is much more complex and the adoption of the native perspective, apart from that of the Spaniards, may reveal the profundity of the convergence of features proper to the Old and New World and help to unveil the perception and reception of the sixteenth‑century Mexican performances by its native inhabitants.

9

Factors of leisure experience: a study of Turkish festival participants

75%

Akyildiz M. , Argan M.

Studies in Physical Culture and Tourism

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2010

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tom 17

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nr 4

10

The Ride of the Kings in Vlčnov from the Perspective of Contemporary Research

75%

Stavělová D.

Národopisná revue (Journal of Ethnology)

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2015

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tom 25

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nr 5

64 - 60

EN

The contribution introduces the theme of research into a traditional Pentecost custom – the Ride of the Kings – in one of the ethnographic areas in the Czech Republic. The text is based on the contributions that became outcomes of international field research in a Czech location. This research was carried out thanks to the initiative of the ICTM Study Group on Ethnochoreology. The Group has dealt systematically with fieldwork through the ICTM Sub-Study Group of Field Research Theory and Method, a narrower-aimed study sub-group. The research focused on the traditional custom of the Ride of the Kings in the village of Vlčnov, which was chosen with special respect to the background provided by the inscription of the Ride on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The fact is undoubtedly reflected in how the outside world perceives the Ride and how the Ride is shared by the local community. It provides a space for research on viability and the process of transformations in this traditional expression in contemporary society.

11

Vlčnovská jízda králů pohledem současného výzkumu (experimentu)

75%

Stavělová D.

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nr 1

3 – 14

EN

The theoretic study mentions a series of articles that became an output of the international field research, which was initiated by the ICTM Study Group of Ethnochoreology. This study group focuses on the theme of field research within a more specialized ICTM Sub-Study Group of Field Research Theory and Method. The research was aimed at the traditional custom of the Ride of the Kings in Moravian Slovakia, which has been chosen with special reference to the context offered by its inscription on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. This issue is projected to the perception of the customs by the surroundings, it is reflected in the way of its future sharing by the local community and it offers the field to research its viability and process of changes within the contemporary society. It is a pilot research that was drafted as an experiment because of the specific, collective, supranational and inter-generational approach and the application of some non-standard procedures consisting in combination of monitoring and interviewing techniques. It was one concrete year of the Ride of the Kings in Vlčnov (2012) that was monitored. The data, which the quantitative research concentrated within the restricted time and space, should especially help formulate next procedures, hypothesis and issues aimed at the research of the importance of the mentioned traditional Pentecost custom within the today’s society.

12

Społeczne i przestrzenne aspekty oddziaływania Festiwalu Muzyki Rockowej w Jarocinie

75%

Matykowski R. , Figisiak E.

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2008

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tom nr 11

275--284

PL

Uczestnictwo w koncertach rockowych ma dużą wartość dla młodzieży ze względu na możliwość wspólnego przeżywania, a często wspólnego śpiewania poszczególnych utworów wraz z występującym zespołem. Imprezy rockowe zostały też zaakceptowane przez występujące wśrod młodzieży polskiej grupy subkulturowe lub kontrkulturowe. W Polsce lat 80. do najważniejszych festiwali muzyki rockowej należały: Festiwal Muzyki Rockowej w Jarocinie, Metalmania w Katowicach, Reggae nad Wartą w Gorzowie Wielkopolskim oraz Muzyczny Camping w Brodnicy. Celem niniejszego opracowania jest charakterystyka oddziaływania Festiwalu Muzyki Rockowej w Jarocinie pod koniec lat 80. XX w. w wymiarze społeczno-kulturowym, jak i w kontekście przestrzennym. Rozwój i oddziaływanie przestrzenne muzyki jako zjawiska kulturowego było już nieraz przedmiotem badań geografii (Ford, 1971; Carney, 1974, 1977; Francaviglia, 1978). Przedmiotem badań nauk społecznych i geograficznych stał się również Festiwal w Jarocinie (np. Wertenstein-Żuławski, 1986; Romaniszyn, 1987; Figisiak, 1988; Geise, 1988; Kurzawski, 1989).

EN

The aim of the paper is to present the Rock Festival at Jarocin in its socio-cultural and spatial impact. The festival is a multi-dimensional phenomenon impossible to categorise as a purely musical or purely social event. This paper was prepared in December 1989 and has never been published. In the 1980s the Jarocin Rock Festival was the biggest cyclic rock event in Poland attracting at least 10,000 participants since 1983 (in 1984 even about 20,000). It became the only survey of amateur rock output of such a broad scope that did not specialise in any particular brand of rock music and that allowed young, inexperienced musicians to perform side by side with those already established. Jarocin turned into a symbol of defiance of the Polish youth and hence was often identified with the Woodstock festival. The socio-geographical analysis of the Jarocin Rock Festival focused on the following questions: (a) the spatial impact of the festival (the derivation of the audience and music bands), (b) socio-demographic characteristics of its participants, (c) an assessment of the event by Jarocin residents, and (d) the spatial images of Jarocin formed by the festival participants.

13

Multi-culturalism and the challenges of advancement in post-modern Nigeria in juxtaposition with world best practices

75%

Edogiawerie M.

|

2016

|

tom 28/1

293-318

EN

Africa at one time was referred to as the wretched of the earth primarily because of the simple reason and belief that the continent is devoid of civilization, science and technology. Any intellectual and a right thinking individual would agree with this position that civilization is not relative or connected or tied to the west-Europe and America, or any other culture at that. What “Civilization” actually means is that it is the conventional way in which a group of people live their lives. It amounts to their religions, politics, norms and values, cultural disposition, interpersonal relation etc. It is pertinent to comprehend this distinction because it often erroneously believed when the term “civilization” is used the first thing that comes in to the minds of many is that civilization has to do with Modernity, the way of life of the white man, Science and Technology etc. Civilization can be best referred to as the way of life of a group of people, or a society that has a definite, systematic, consistent and organised ways of living their lives or co-existence. It is against this backdrop that this paper is presented, to inter alia, attempt to clarify the meaning of civilization and which group of people that can be regarded or referred to as civilized or not civilized. This exposition, hence, will consider those parameters that translate to civilization such as culture, tradition, norms, values, and festivals, ancestral worship etc. especially of the African people with particular attention on Nigerian in juxtaposition with other practices that are considered to be best world practices. This evaluation is necessitated by the fact that there is a need to explore the potentiality and actualization of the black African heritage and be in the position to judge whether or not the African culture can be on the same pedestal with other world cultures and civilizations that are regarded as most recognised and accepted conventions.

14

Jubileuszowy festiwal w Chaumont nad Loarą

75%

Bredy-Łaciak B.

Zieleń Miejska

|

2011

|

tom Nr 12

16-19

PL

Ten już XX z rzędu Międzynarodowy Festiwal Ogrodów - cieszący się sławą zarówno w szerokich kręgach profesjonalistów, jak i wśród amatorów sztuki ogrodowej - odbywa się corocznie w zabytkowej posiadłości usytuowanej w Chaumont nad brzegiem Loary.

15

Warsaw Student Festival Ursynalia 2010

63%

Nowakowski L.

|

2010

|

nr 77

16

Kilka uwag o pandemicznej tęsknocie Polaków za turystyką festiwalową

63%

Parus-Jankowska M.

Studia Humanistyczne AGH

|

2023

|

tom 22

|

nr 1

61-70

EN

The Covid-19 pandemic has significantly changed the way people spend their leisure time, including the pattern they listen to music - one of the most common leisure activities of Poles. In the early days of the pandemic, cultural institutions, among others the musical ones, were closed and outdoor concerts and festivals were cancelled, so that spectators lost the opportunity to participate in any musical events and artists to perform live music. There was nothing left but to transfer those activities to the Internet. However, it quickly turned out that such contact with music was insufficient for listeners and performers. According to research, one of the greatest longings during the pandemic was the desire to participate in a live music event - a gig or a festival. The article presents a festival as an example of the culture multi-sensory event, a kind of celebration in which music plays important social functions of social integration and building a sense of community which is what Poles missed most during the pandemic.

PL

Pandemia Covid-19 znacząco zmieniła formy spędzania czasu wolnego, między innymi wpłynęła na sposób słuchania muzyki – jednej z najczęstszych aktywności Polaków w czasie wolnym. W początkowym okresie pandemii zamknięto instytucje kultury, w tym te muzyczne, i odwołano koncerty plenerowe oraz festiwale, przez co słuchacze stracili możliwość bezpośredniego uczestniczenia we wszelkich wydarzeniach muzycznych, a artyści wykonywania muzyki na żywo. Zarówno jednym jak i drugim nie pozostało nic innego, jak przenieść swoje aktywności do Internetu. Szybko jednak okazało się, że takie obcowanie z muzyką jest dla słuchaczy (i wykonawców) niewystarczające. Z badań wynika, że jedną z największych tęsknot w czasie pandemii była chęć uczestnictwa w wydarzeniu muzycznym na żywo – koncercie lub festiwalu. Artykuł przedstawia festiwal jako przykład wielozmysłowej kultury iwentu, rodzaju święta, w którym muzyka odgrywa ważne społeczne funkcje – integracji społecznej i budowania poczucia wspólnoty, czyli tego, czego Polakom w pandemii najbardziej brakowało.

17

Mezi rituálem a festivalem (na příkladu vlčnovské jízdy králů)

63%

Giurchescu A.

|

nr 1

42 – 46

EN

The article is an attempt to analyze the relationship between a ritual event - Ride of the Kings - and the festival organized around it. Ride of the Kings is considered a ritual though its messages and symbols are not fully underwood by the community. While the King’s Ride ritual provides a valuable reason for the existence of the festival, the festival - in turn - contributes to the promotion and transformation of the ritual event. There are discussed three modalities of transforming the ritual in theatrical performance: 1. A metaphorical interpretation of the „riders‘ procession“ by the children, on stage; 2. The transformation in spectacle of the most important ritual moment: the dressing of the King in woman‘s clothes. 3. The creation of a concluding fragment performed on stage and presented as an integral part of the traditional procession. The coexistence and interaction between the cultural traditions of the Ride of the Kings ritual, and the arbitrarily added festival have ambivalent consequences. On one hand, the King’s Ride tradition functions to support and legitimate the existence of the touristic festival. On the other hand, because of growing number of outsiders asking for more spectacle, the Ride of the Kings ritual may become progressively a cultural commodity and an integral part of the festival by moving from its traditional physical and social locations on stage or by being transformed into a standardized theatrical performance.

18

Festiwale sztuki ulicznej. Przedmiot instytucjonalizacji i forma uspołeczniania miasta

63%

Połeć M.

|

2016

|

tom 4

|

nr 1

23-38

EN

The article presents the most important festivals of street art in Poland in 2014: the reasons of uprising, distinctive features, the ways of organizing and being held. Festival is shown as typical urban phenomenon, with the character referring to carnival’s parade and with the roots reaching the ancient times. These days, the performances in urban space are becoming a common way of getting to the new viewers, showing heretofore existing kinds of performance in another context – full of immediacy and unpredictability. The materials were collected with usage of the Internet sources and also by ethnographical methods – directly from the participants.

19

The tourist assets of the 21st Festival of Slavs and Vikings on Wolin Island

63%

Kujawa Ł.

|

tom 8

|

nr 1

PL

Artykuł omawia wpływ walorów krajoznawczych na postrzeganie XXI edycji Festiwalu Słowian i Wikingów jako wydarzenia atrakcyjnego turystycznie. Przybliża także zarys aktywności, jaką jest rekonstrukcja historyczna/odtwórstwo historyczne. Prezentowane w nim są wyniki badań ankietowych przeprowadzonych w trakcie wydarzenia wśród odwiedzających oraz uczestników-rekonstruktorów mające za zadanie uwiarygodnienie tezy o wysokiej atrakcyjności turystycznej Festiwalu.

20

European Glass Festival. 21–26 października 2019 r., Wrocław. Krista Israel. Złoto najwyższej próby

63%

Pawlak K. , Bialic A.

Szkło i Ceramika

|

2019

|

tom R. 70, nr 4

42-43

PL

Szkło. Jest wymagające, kapryśne, niebezpieczne i uzależniające. A przede wszystkim piękne... Po roku przerwy na scenę najwspanialszych polskich i europejskich szklarskich wydarzeń powraca Play with Glass – European Glass Festival. Na zaproszenie organizatorów festiwalu – Anity Bialic i Kazimierza Pawlaka – przyjadą do Wrocławia wybitni europejscy i światowi artyści szkła. Przedstawiamy Kristę Israel.